Even with the formidable performance of Loanne Balthasar that brings the demons of her teenage character to life, there is a two-dimensional quality to the cinematic world she lives in. It romanticizes and waxes poetic about depression, but never genuinely attempts to present insights that show understanding or empathy about this condition.
3 1/2 stars. One of the better depictions of the teenage condition that I've seen—although Sarah is carrying more trauma than is typical. Gothic architecture and a steady diet of Wagner unfairly promise a heightened reality to a mind at an age which already craves it. A darkly enigmatic performance from Loane Balthasar. Incredible subjective sound mixing. A smartly confining aspect ratio and beautiful lighting.
One of the most beautiful movies I've ever seen. And so powerful to bring of me real tears. I felt the protagonist was someone I truly loved. Form and content intermingled poetically and at the same time with the truth of realism. My absolute respect for the director.
3.1 stars. Would make an interesting but exhausting double-bill with 'Madeline's Madeline'. This does much of what I believe cinema can do at its best (make one occupy difficult subjectivities; conjure oneiric textures; do philosophy) while also being - to me at least - intermittently interminably irritating. I've also never before wanted so much for a character to bite another character to pieces.
A surprisingly well put together debut in the wider sense of film making - a commodity nowadays. The topic and depth of approach may be beyond viewers range, but to say that Wyss attempts to pack too much in her work is an insult if taken seriously. Carefully weft in a convincing photography, the brilliant main character makes the weak supporting roles add to the core of the topic: people can be life’s main burden.
Frustrating and largely unsatisfying. Its tale of self-indulgent teen angst and melodrama was tackled with better depth in Lonergan's Margaret, and the use of performance is very Madeline's Madeline. Some good scenes: a staged whipping followed by a discussion of can we criticise violence without showing it is interesting, but it leaves a bad taste. The suicide advocating father instantly enters the bad dad pantheon.
Pellicola claustrofobica, che riesce a mostrare con efficace realismo i drammi adolescenziali, soffermandosi in particolare sulla solitudine e su quel senso di inadeguatezza che spingono la protagonista a rendersi tanto odiosa e inavvicinabile. Lo spettatore, maltrattato, può decidere se disprezzarla, abbandonandola a se stessa, o comprenderla, mostrandole tutta la silenziosa vicinanza di cui probabilmente necessita.
3.5 stars. Very identifiable character. Many scenes felt like a deja vu of my past actions. The way it was recorded feels like you are in there, in that house. No spectacular efects, no ambience, little music. Just there, you and your thoughts as if you were Sarah's family, or Sarah herself. Interesting.
É um filme arrítmico, presunçoso, classista (no pior sentido do termo), interpretado sem muito vigor, roteiristicamente indeciso, insuportável. Quiçá muitos destes efeitos devam-se à dificuldade em nutrir simpatia pela protagonista, apesar de melhorar um pouco (muito pouco) em seus minutos finais. As cenas familiares são forçadas e as teatrais são desenxabidas. A direção é frouxa, sem vida. Muito ruim mesmo! (WPC>)
Sarah is a privileged asshole. Sarah needs to be slapped repeatedly. Nobody slaps Sarah repeatedly. Sarah continues to be a privileged asshole who eventually crumbles under the weight of her own teen angst. Bonus points for the whipping scene and the last two scenes. Loane mesmerizes even when needing a slapping,
I'm not a huge fan of coming-of-age films but I found this beautifully shot piece quite engaging. No, it doesn't always work and I think the final act falters quite badly but it's worth watching for the overall aesthetic of the film and the luminous performance of Loane Balthasar. As a debut feature, this shows enormous promise. Let's see what Wyss does next!
On the one hand, this is an interesting psychological drama about a young woman torn between isolating herself from others and communicating her troubles in a way that helps her mental health. On the other hand, it's never as effective as it could be, and I think director Katharina Wyss may do much better in the future (this was her feature debut).
This film gives you nothing to talk about. Supposed to be a take on teenage angst and growing up in difficult family circumstances, it falls apart because it has no unifying idea, no involving characters whose behavior is in the least bit motivated. It’s very shallow, amateurish and half-baked, and even wonderful music and great academy-ratio cinematography, for which I give it its two stars, can’t save this failure.
Fascinant et perturbant, très bien réalisé. A première vue, la dépression du personnage m'a paru liée à un climat incestuel entretenu (?) par son père, dans lequel fantasme, rêve et réalité perdent leur frontière. Le monde n'est plus qu'un théâtre habité de sombres pulsions quand l'autre scène investit le réel. Sarah cherche à fuir désespérément cette aliénation.